One particular subgenre that Novak helped create was “hicksploitation”, adult-themed movies (set in rural areas) that usually featured beautiful women getting it on with ugly slobs. Admittedly, I have very little experience with hicksploitation. In fact, 1971’s Sweet Georgia is the first of these films that I’ve actually seen.

And if it’s any indication of what I can expect from other movies of this ilk, it will probably be the last as well.

Georgia (Marsha Jordan) is married to the hard-drinking Big “T” (Gene Drew), but that doesn’t stop her from sleeping with their live-in handyman Cal (Chuck Lawson) or the dim-witted cowhand Le Roy (Bill King Jr.). Virginia (Barbara Mills) is Big T’s daughter from a previous marriage, and when he’s drunk Big “T” likes to heap abuse (both physical and emotional) on the poor girl. Georgia does what she can to keep Virginia safe, but the sexual tension between the two beauties soon gets the better of them both.

Georgia has to watch it, though, because if Big “T” ever finds out how promiscuous she is, he’ll probably end up killing her.

Sweet Georgia doesn’t waste any time; in the opening scene a completely nude Virginia rides her horse through the desert while Georgia looks on (rubbing herself in a provocative manner). As we’ll soon discover, Georgia is one very horny lady; even drinking a cup of water seems to turn her on, and the first line she utters in the movie is “Just shut up and lay me” (spoken to Cal, who asked why she was undressing in front of him).

Virginia, on the other hand, is a novice when it comes to sex. She likes to occasionally tease Le Roy by showing off her voluptuous body, but Big “T”s abusive behavior has made it difficult for her to trust any man. In an effort to ease the girl out of her virginal shell, Georgia seduces Virginia (a sequence that runs for about 10 minutes). In fact, the only person not having sex in this movie is Big “T” (until the finale, that is; a scene that’s about as icky as they come).

Without a doubt, both Jordan and Mills are drop-deadgorgeous, and their lesbian encounter is the closest this movie gets to a genuinely erotic moment. Aside from that, though, the so-called “sex” in Sweet Georgia is about as interesting as watching grass grow. Which is a shame, because, in the end, Sweet Georgia is nothing more than a 79-minute hump session, moving quickly from one soft-core scene to the next with nary a story in sight.

Director Edward Boles (who also wrote the screenplay) does try to sneak a twist or two in towards the end, but by that point I just didn’t care anymore.